On View at The Dairy
MONTH OF PHOTOGRAPHY: Telling stories behind, through and in front of the camera | MARCH 7-APRIL 15
Exhibition statement:
Photography is arguably one of the most accessible art forms – everyone takes photos. Yet it is also one of the most under-appreciated art forms. The exhibitions on view bring to light the complexities of photography and tell a story behind, through and in front of the camera. We show you the incredible amount of “filters” photographers use – from socio-economic status to presentation. See behind the scenes of epic 90’s sitcoms and examine unreal photo manipulations. Gain an understanding of the artist, the process and the subject. If every photo tells a story, these are the ones worth knowing.
UPCOMING
[Polly Addison Gallery] Polly Addison
Polly has a long history within the Boulder art scene and was extremely dedicated to supporting the Dairy in its early years and beyond. Her exhibition in her namesake Polly Addison Gallery is a small selection of paintings, drawings and etchings that she produced in the 1980’s.
Reception statement: The Unknown Polly Addison will open on April 26th, starting at 5 pm. At 5:30 a brief introduction and discussion of the works on view will be made. Meet Polly, her husband Mark, friends, colleagues, curators and local artists. Light fare for attendees, plus drinks available for purchase. All receptions are free and open to the public.
Public Sculpture at the Dairy
NICOLE BANOWETZ: Concerning Plants | APRIL 1-JUNE 16
Opening reception: April 6, 2019 from 6-9 pm
Exhibition statement:
Concerning Plants is a playful interpretation of the mysterious and complex networks of plant communication. The inflatable winds through the space as if a strange root system emerges from the ground, somehow both alien and natural. It is something which has gown up above the surface to give us a glimpse of the mythic and invisible networks down below. This inflatable is inspired by mycelium and rhizome structures. Deleuze and Guattari explain that the rhizome ‘has neither beginning nor end, but always a middle (milieu) from which it grows and which it overspills’ , “ the rhizome pertains to a map that must be produced, constructed, a map that is always detachable, connectible, reversible, modifiable, and has multiple entryways and exits and its own lines of flight.” Deleuze calls this philosophy an “image of thought,” based on the botanical rhizome, that apprehends multiplicities. This is in reaction to our own incorrect notion of a tree as a hierarchy.